Bruise & Thorn - Pipeline Theatre Company, 2022
"Sasha Schwartz's neon laundromat fantasy of a set provides a multicolored backdrop for this wild story, further intensified by Harbour Edney's club lighting, Matt Otto's playful sound design, and Cesar Valentino's athletic choreography."
"Jou has also found a team of designers whose work helps to knit the play's sometimes clashing styles and intentions. Sasha Schwartz's gritty laundromat set is given a kind of Fauvist paint treatment, with broad splashes of blue, green, and pink. Harbour Edney's lighting makes creative use of positions, easily shifting from naturalistic washes to dance club glamour. Saawan Tiwari's costumes feel accurate to the characters; the designer also runs riot with animal outfits, especially the chickens amusingly dressed like Roman centurions. Matt Otto's sound design includes street noises, roaring crowds, and an earthquake-like rumble; he also provides the rhythmic beats that keep the energy flowing between scenes."
Bundle of Sticks - INTAR NYC, 2020
"Meghan E. Healey's stripped-down set design paints the theatre's walls the precise color of the Coober Pedy dugouts, and Harbour Edney's lighting reshapes the space as needed; together, they make an authentically claustrophobic atmosphere, which is what is wanted. Jesse Mandapat's sound design is most effective during a dust storm sequence and some bursts of electronic dance music."
"Christopher’s theatrical convention dictates a diverse cast of women, transgender and/or non-binary performers, swapping out full-frontal nudity with flesh-toned bodysuits and soft-sculpture phalluses (designed by Meghan E. Healey). The effect, in combination with Harbour Edney’s lighting and Jesse Mandapat’s sound design, creates an other-worldly, transcendent quality, not unlike (but with much less budget) Taylor Mac’s recent Gary: A Sequel to Titus Andronicus."
"But instead of a straightforward narrative, he injects a heavy dose of magical realism. Under the direction of Lou Moreno, and with an assist from Harbour Edney’s inventive lighting design, the piece pulses with undeniable theatricality."
You On The Moors Now - Pittsburgh Playhouse, 2017
"Unfortunately, for all of their talents, McKenna, Halley, and Donovan are not able to rescue the production from its tidy and tedious ending in the play’s third act. That task is left to the show’s designers Tucker Topel (sets), Terra Marie Skirtich (costumes), and Harbour Edney (lights), whose work was a beauty to behold for the entire show but definitely shone brightest in its final moments."